DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES
July 10 – December 29, 2017
In the short story “William Wilson,” Edgar Allan Poe presents the sinister tale of a character who from his childhood encounters a figure that resembles him in every way. The apparition haunts him with similitude and repetition—until it turns out to be himself. It is the doppelgänger, or double, a recurring figure in literature (from Dostoyevsky to Borges) and in all the arts. The very act of representing oneself or the other can be understood as creating parallel realities, thus doubles of those in which we live.
The exhibition DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES takes this literary figure as a starting point to create an inventory of artworks in which alterity and duplicity are manifested. In a succession of galleries, the theme is developed into different groupings of works—from forms of representation that occur through replicas, shadowing, and mirroring to logical-formal exercises that are expressed by the use of halves and doubles in geometric abstraction. Works from the African and ancient American art collections at the Dallas Museum of Art have been incorporated into the show and bring complexity to the role of representation and representatives in object making throughout art history.
The title of the exhibition involves a play on words drawn from three languages: English (the de facto national language), Spanish (the language of the Other), and Portuguese (my language). Doubles (the original term), dobros (Portuguese for “two times something”), pliegues (Spanish for “folds,” or, in Portuguese, dobras, the feminine counterpart of dobros), pares (“pairs”), twins, and mitades (“halves”).
DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES draws works from The Rachofsky Collection, Dallas Museum of Art, Collection of Marguerite and Robert Hoffman, Collection of Marguerite Steed Hoffman, Deedie Rose, and Jennifer and John Eagle.